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Hobbes in Hollywood: Crime and Its Outcomes in the Natural State

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Hobbes in Hollywood: Crime and Its Outcomes in the Natural State Journal of the Indiana Academy of the Social Sciences Volume 18 Issue 1 Article 6 2015 Hobbes in Hollywood: Crime and Its Outcomes in the Natural State Joseph Ferrandino Indiana University Northwest Follow this and additional works at: https://digitalcommons.butler.edu/jiass Part of the Social and Behavioral Sciences Commons Recommended Citation Ferrandino, Joseph (2015) "Hobbes in Hollywood: Crime and Its Outcomes in the Natural State," Journal of the Indiana Academy of the Social Sciences: Vol. 18 : Iss. 1 , Article 6. Retrieved from: https://digitalcommons.butler.edu/jiass/vol18/iss1/6 This Article is brought to you for free and open access by Digital Commons @ Butler University. It has been accepted for inclusion in Journal of the Indiana Academy of the Social Sciences by an authorized editor of Digital Commons @ Butler University. For more information, please contact [email protected]. Hobbes in Hollywood: Crime and Its Outcomes in the Natural State* JOSEPH FERRANDINO Indiana University Northwest ABSTRACT This content analysis introduces a genre of film that paralleled the rise of conservatism in the United States (1979–1996). Based on the words of Hobbes, the films are perceived to represent the world in its natural state, absent the proper social and law enforcement authorities within existing civilized society. Prior literature on this topic and subject are examined, as are the real measures of criminal justice system breadth over this period, including crime, victimization, arrests, imprisonments, police staffing data, and information on dollars spent. The results of the content analysis reveal the cold, harsh, brutal, nasty, and short world of Hobbes, with murder the main method of conflict resolution and with police, courts, and prison systems noticeably absent. The crimes visualized in this sample are compared to the reality; the differences are as stark as the images of a Hobbesian world and leave the viewer thankful for the systems we do have after seeing what life would be like without them. KEY WORDS Crime; Film; Hobbes; Conservatism Whatsoever therefore is consequent to a time of war, where every man is enemy to every man … there is no society, and which is worst of all continual fear, and danger of violent death; and the life of man solitary, poor, nasty, brutish and short. … To this war of every man against every man, this also is consequent; that nothing can be unjust. The notions of right and wrong, justice and injustice there have no place. —Thomas Hobbes, Leviathan XIII.9:83; XII.13:85 When the going gets tough ... the tough take the law into their own hands. —Tagline for Harley Davidson & the Marlboro Man In a town with no justice, there is only one law ... Every man for himself. —Tagline for Last Man Standing * Correspondence concerning this article should be addressed to Joseph Ferrandino, PhD, Associate Professor of Criminal Justice, School of Public and Environmental Affairs, Indiana University Northwest; 3400 Broadway, Gary, IN 46408. 59 60 Journal of the Indiana Academy of the Social Sciences Vol. 18 (2015) The rules are simple: kill or be killed. —Tagline for Surviving the Game These are the Armies of the Night. They are 60,000 strong. They outnumber the cops three to one. They could run New York City. Tonight they're all out to get the Warriors. —Tagline for The Warriors For a long time, Americans have been reached through films. According to the Motion Picture Association of America (2007), the domestic box office reached $9,629,000,000 in 2007, a 111% increase from 1992, not accounting for inflation, while 1.4 billion tickets were sold in 2007 compared to 1.1 billion in 1992. Furthermore, the Motion Picture Association of America (2007) notes that in the past four years, total DVD rental and sales totals averaged about 1,255.8 units per year in millions, not counting downloads, pirated movies, and television airings on network and cable. In 2013, the gross U.S.– Canadian market box office had revenues of $10.9 billion, with 1.34 billion admissions (Motion Picture Association of America 2013). Americans receive many messages through film; this study explores one particular Hobbesian message—life in the natural state of man as solitary, poor, nasty, brutish, and short within existing civilized societies—in the context of the American political environment from 1979 through 1996. This follows the framework created when Gerbner (1970:80) asked, “What kinds of violence are shown, what for and in what contexts?” The genre studied here contrasts from the postapocalyptic world of today’s films such as World War Z, The Road, and I Am Legend as well as films that depict a man against his government (or its criminal justice system) such as 1984, Enemy of the State, and Cool Hand Luke. This genre is presented in a frame that depicts the lawless life of the natural state within the existing, civilized, modern world. This work looks at 11 films fitting this description. Modern America does have a quite punitive and expansive criminal justice system, however; thus, it is important to look at the reality of crime and its outcomes over time before revealing the crimes and outcomes found in the Hobbesian world, absent the proper authority in the throes of chaos, anarchy, and death amidst civilization. This leads to a discussion about the genre and its message as contrasted to the world in which we live. But first, and perhaps most importantly, the films of this era (1979–1996) are placed within their political and cultural context, which mirrors the rise of modern conservatism in the United States. THE RISE OF CONSERVATISM, THE THOUGHTS OF HOBBES, AND THEIR REFLECTION IN FILMS, 1979 THROUGH 1996 Hobbes expressed an extremely conservative view of the social contract in Leviathan, a seminal work that sought to legitimize governmental authority in contrast to the harshness and brutality of an existence without it. Sayre-McCord (2000:251) succinctly states that “as long as the state of nature represents a genuine threat, and as long as Ferrandino Hobbes in Hollywood 61 staying out of that situation requires mutual cooperation in support of government conventionally established, the real people facing the threat will find that they have reason to recognize the authority of the state.” After the ascendency of conservatism with the election of Ronald Reagan in 1980, the modern conservative movement reached its first congressional apogee in 1994 behind the Contract with America, of which one policy focus was dealing with the growing threat of crime in America (Gayner 1995) through a goal of constructing prisons and adding more police (“Contract with America” 1994). Walker (2006) calls the worst nightmare of the conservative crime ideology “unchecked criminality that leads to anarchy and the death of freedom” (p. 25), or the natural state of man as described by Hobbes. Thus, the connection between Hobbesian philosophy, conservatism, crime, and safety is quite salient relative to this view of the social contract. Political ideologies such as conservatism have an emotional basis “that can be readily activated by appropriate stimuli … and particular individuals are influenced by a variety of informational inputs” (Miller 1973:142) such as film. The films in this analysis were made and/or released between 1979 and 1996, a period in American history reflecting both the rise of political conservatism and the firm implementation of the crime-control model throughout our criminal justice systems. The general consensus from the research is that the media of this period reflected the conservative crime ideology (Broe 2003; Jenkins 1994; Melossi 2000) and this is problematic because the public’s knowledge of crime is derived primarily from the depiction of crime in the media, affecting “the public’s fear of crime, its opinion of punishment, and its perception of the police” (Muraskin and Domash 2007:1). Broe (2003:2) notes that the 1980s and 1990s witnessed a “reaction to Reagan and Bush administration policies and the conventional Hollywood support for those policies.” Thus, the media message, through which many people form their perceptions of crime and its control, is often reflective of the dominant prevailing political ideology in which the content is produced. Spencer Warren (1994) compiled a list of the “the 100 best conservative movies,” noting that the period of the late 1970s until 1994 marked a return of conservative movies, specifically with the Star Wars films, which debuted in 1977, that represented “the triumph of good over evil that would mark the Reagan Eighties.” Noting that “few institutions exert more influence over American popular culture than the wildly successful Hollywood dream factory,” Smith (1994) surmises that the basis for great conservative cinema in terms of crime and justice is that “the state hardly does anything more important than when it delivers a measured, just response to human evil.” A clearly conservative message delivered through the often maligned “liberal” Hollywood, whether through direct or indirect influences, is reflective of both political ideology and policy of this period in American history. Relative to the present study, Melossi (2000) discusses the “exclusionary penal” model in which the perception is one of anarchy, chaos, and social breakdown that the author relates to the thinking of Hobbes in Leviathan. More recently, Halper and Muzzio (2007) looked at what they dubbed “dystopias in the movies,” a genre defined as “an imaginary place of oppression or suffering.” In discussing the relation to the Hobbesian 62 Journal of the Indiana Academy of the Social Sciences Vol. 18 (2015) perspective, the authors note that although it may appear at first strange to marry the two in thought, “movies do sometimes address the Hobbesian bargain of liberty for security. … If we refuse to submit to authority, they remind us, we pay for our arrogance with anarchy, suffering and death.” This view fits with criminal-justice conservatism.
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